Oliver Carter – författare

Fans of cult films don't just watch the movies they love-they frequently engage with them in other, more creative ways as well. Making European Cult Cinema explores the ways in which that fandom could be understood as an alternative economy of fan enterprise, through a close look at how fans produce and distribute artifacts and commodities related to cult films. Built around interviews and ethnographic observations-and even the author's own fan enterprise-the book creates an innovative theoretical framework that draws in ideas from cultural studies and political economy to introduce the concept of an 'alternative economy' as a way to understand fan productions.

Fans of cult films don't just watch the movies they love-they frequently engage with them in other, more creative ways as well. Making European Cult Cinema explores the ways in which that fandom could be understood as an alternative economy of fan enterprise, through a close look at how fans produce and distribute artifacts and commodities related to cult films. Built around interviews and ethnographic observations-and even the author's own fan enterprise-the book creates an innovative theoretical framework that draws in ideas from cultural studies and political economy to introduce the concept of an 'alternative economy' as a way to understand fan productions.

Fans of cult films don't just watch the movies they love-they frequently engage with them in other, more creative ways as well. Making European Cult Cinema explores the ways in which that fandom could be understood as an alternative economy of fan enterprise, through a close look at how fans produce and distribute artifacts and commodities related to cult films. Built around interviews and ethnographic observations-and even the author's own fan enterprise-the book creates an innovative theoretical framework that draws in ideas from cultural studies and political economy to introduce the concept of an 'alternative economy' as a way to understand fan productions.

Step through the gates of the world's most famous university - no interview required.Oxford may be centuries old, shrouded in tradition, and surrounded by myth, but what is it actually like on the inside? Drawing on hidden histories and stories passed down through generations of students, Inside Oxford explores the whole ecosystem - the colleges and their rivalries, the teaching that made Oxford world‑famous, the big nights out, the bigger essays, the finances no one talks about, the scandals everyone talks about, and the strange, stubborn magic that keeps people falling in love with the university.Step into the shoes of a student on this witty, eye-opening, and deeply affectionate tour, guided by Oxford insider and viral creator, Oliver Carter, and The Secret Professor, an anonymous Oxford academic with nearly twenty years' experience of tutorials, committees, and college politics. Together, they chart the full arc of Oxford life: from nervous applicant to seasoned student to grad‑school survivor (or drop‑out...), revealing the tensions and triumphs that make the place unlike anywhere else.Whether you're a future applicant, a nostalgic alum, a curious visitor, or someone who has always wondered what really happens behind these ancient stone walls, this is the ultimate guide to the real Oxford.

Step through the gates of the world's most famous university - no interview required.Oxford may be centuries old, shrouded in tradition, and surrounded by myth, but what is it actually like on the inside? Drawing on hidden histories and stories passed down through generations of students, Inside Oxford explores the whole ecosystem - the colleges and their rivalries, the teaching that made Oxford world-famous, the big nights out, the bigger essays, the finances no one talks about, the scandals everyone talks about, and the strange, stubborn magic that keeps people falling in love with the university.Step into the shoes of a student on this witty, eye-opening, and deeply affectionate tour, guided by Oxford insider and viral creator, Oliver Carter, and The Secret Professor, an anonymous Oxford academic with nearly twenty years' experience of tutorials, committees, and college politics. Together, they chart the full arc of Oxford life: from nervous applicant to seasoned student to grad-school survivor (or drop-out...), revealing the tensions and triumphs that make the place unlike anywhere else.Whether you're a future applicant, a nostalgic alum, a curious visitor, or someone who has always wondered what really happens behind these ancient stone walls, this is the ultimate guide to the real Oxford.

Prior to 2000, it was a criminal offence to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with the corrupt Obscene Publications Squad permitting them to trade.By the late 1960s, Britain had developed an international reputation for producing ‘rollers’, short films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market.Under the Counter is the first book of its kind to investigate Britain’s trade in illicit pornographic 8mm film.  Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation, incorporating ideas from cultural studies, political economy, history and criminology.Under the Counter is a scholarly monograph that will be of interest to researchers across a wide range of disciplines and will be of use to students at undergraduate, Masters level and PhD.The book will be of particular relevance to students and researchers interested in the study of pornography, sexual cultures, illicit media enterprise and entrepreneurship, but also those with an interest in film production and distribution, particularly within a British context. The theoretical frameworks that underpin the book mean that researchers with an interest in the creative industries will be able to make use of it and the book makes a contribution to media and cultural history.It is suitable for use on university courses relating to these specific areas, specifically media and communication, film studies, creative industries, and potentially on criminology or socio-legal studies, given the books attention to obscenity law and regulation of illicit practices.

Prior to 2000, it was a criminal offence to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with the corrupt Obscene Publications Squad permitting them to trade.By the late 1960s, Britain had developed an international reputation for producing ‘rollers’, short films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market.Under the Counter is the first book of its kind to investigate Britain’s trade in illicit pornographic 8mm film.  Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation, incorporating ideas from cultural studies, political economy, history and criminology.Under the Counter is a scholarly monograph that will be of interest to researchers across a wide range of disciplines and will be of use to students at undergraduate, Masters level and PhD.The book will be of particular relevance to students and researchers interested in the study of pornography, sexual cultures, illicit media enterprise and entrepreneurship, but also those with an interest in film production and distribution, particularly within a British context. The theoretical frameworks that underpin the book mean that researchers with an interest in the creative industries will be able to make use of it and the book makes a contribution to media and cultural history.It is suitable for use on university courses relating to these specific areas, specifically media and communication, film studies, creative industries, and potentially on criminology or socio-legal studies, given the books attention to obscenity law and regulation of illicit practices.

Provides new perspectives on the increasingly complex relationships between media forms and formats, materiality and meaning. Drawing on a range of qualitative methodologies, our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured, transformed and redefined through changing social, cultural and technological values.Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8 mm film, board games maps, videogames, cassette tapes, transistor radios and Twitter, amongst others. These are punctuated with a number of short takes – less formal, often personal takes exploring the meanings of media in context.We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media, culture and society.

Provides new perspectives on the increasingly complex relationships between media forms and formats, materiality and meaning. Drawing on a range of qualitative methodologies, our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured, transformed and redefined through changing social, cultural and technological values.Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8 mm film, board games maps, videogames, cassette tapes, transistor radios and Twitter, amongst others. These are punctuated with a number of short takes – less formal, often personal takes exploring the meanings of media in context.We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media, culture and society.

The book considers the regulatory interventions that have been introduced for new media forms in Africa. This includes regulation covering digital broadcasting, social media and the wider digital media. Emphasis is placed on the regulation of new media, including digital media legislation, internet bans, regulation of online harms, data infrastructure, and digital policymaking. It presents new ideas on media and digital regulation in the Global South, focusing on the review, analysis, and critique of interventions in Africa.Detailed discussion of country case studies in the Southern African Development Community (SADC), Economic Community of West African States (ECOWAS), and Common Market for Eastern and Southern Africa (COMESA) regions highlights trends, patterns, contradictions, and dilemmas in policy and regulation of new media.